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Ankit Chadha - Street Theatre in Delhi
INTRODUCTION
Drama , in the post-independence India , has undergone tremendous development . The beginnings of this growth
can be traced back to the classical ritualistic theatre based on the epics of the Hindu religion , especially Ramayana . Raam Leela , as the stagery is popularly known , will be
the focal point of my work .
One of the factors that make the Ramlilas a subject of keen
interest to me is the close association of the region of their inception with the place where I was born and brought up - the capital territory of Delhi .
As the population increased , the number of Ramlilas also rose .This has been an ongoing process that has witnessed the commercialization of this religious festival . Along with it , the very form of the Ramlilas ,that is the way in which they are played , has diversified.Today, these performances are much more than street shows . However , during this
transformation of the mythological drama , the real flavour
of tradition and spirituality that Ramlila , once , used to offer , has diminished . This project is a holistic analysis of
the changing face of Ramlila.
OBJECTIVES
To establish linkages between the role of patronage in the growth of Ramlilas and their historical origins .
To study the various versions , variations , styles and schools of Ramlila across Delhi , India and the world .
To attempt to discover some of the finest exponents and renditions of the Ramayana .
To highlight the technical aspects of production such as lights , sets , costumes , make-up etc. and the degree of attention paid by the troupes on them.
To collect sufficient information that would enable us to list a directory of Ramlila committees in Delhi .
To examine the complex organization of these committees and the need for it in context of their dealing with government bodies.
To analyse the budgets of the productions and learn about the sources of funds .
To know about the other activities that the people associated with the Ramlilas participate in , for the rest of the year .
To explore the possibility of a similar institutionalization of socio-political street theatre .
METHODOLOGY
1. Gain a background knowledge of the art form by consulting some of the commanding works on the
subject.
2. Seek to collect useful material through systematic groundwork and reading for each objective separately.
3. Prepare questionnaires and then interact with the experts in the field to achieve clarity over issues involved.
4. Deliver a set of readable and useful studies by making project user-oriented.
5. Provide a scope for feedback on the work and make it grow with user’s suggestions.
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